Orbit 9: K Neville, R Thurston, J Sallis, V Vinge & R A Lafferty

Let's take another paperback off the SF anthology shelves of the MPorcius Library.  Today: Orbit 9, edited by Damon Knight and first published in 1971.  (My paperback was printed in 1972.)  I've already read a couple of stories from Orbit 9, and blogged about one of them, Joanna Russ's "Gleepsite."  (I called it an "insoluble puzzle.")  Let's attack six stories today--I know, six is a lot, but it looks like they are short!

"Dominant Species" by Kris Neville 

This story has never been reprinted in English, but our friends over in the Netherlands have had two cracks at it, in 1977 and 1992.  Maybe the subtle and sophisticated Dutch saw something in "Dominant Species" that our gross Anglophonic minds are unable to grasp!  

To my crude American sensibilities this seems like a gimmicky trifle.  A creature much like a duck--maybe it is a duck--thinks itself a god that controls the universe, willing the appearance of food, controlling the weather, etc.  When what we have to assume is a spaceship lands nearby he takes credit for its appearance.  When the beings that emerge from the cylinder capture him he assures himself he has willed this to happen.  Anyway, eventually the aliens (or humans) dissect the duck (or duck-like alien) or whatever it is and we know the bird was suffering delusions of grandeur.  

At four and a half pages, barely acceptable. 

"Stop Me Before I Tell More" by Robert Thurston

Even the Dutch took a pass on this baby!  "Stop Me Before I Tell More" has never been reprinted.  I have good feelings about Thurston, though; I really liked his 1978 novel Alicia II, which I read twice before I started this blog, and also enjoyed 1985's Q Colony.  So maybe I'll be able to tell you "Stop Me Before I Tell More" is some kind of lost classic with a straight face.

"Stop Me Before I Tell More" is an extrapolation or elaboration of a travelling salesman joke.  All through the story's nineteen pages a single line in italics (e. g., "--There was this travelling salesman, see--") is followed by a paragraph or three expanding on it (in our example, describing the salesman's appearance, psychology, and career.)  

The salesman stays the night at a farmer's house after his car breaks down.  The farmer has sexy twin daughters.  One sneaks into the salesman's bed and they have sex.  He can't tell which of the two women she is, and in the morning the girls refuse to reveal the truth.  He stops by this house every year, and each time one of the daughters joins him in bed and he tries to figure out which it is, unsuccessfully.  This is a shaggy dog story, and he and we never learn which twin has been having sex with him.  The punchline of the story, made clear in the italicized lines, is that the joketeller has forgotten the punchline of the travelling salesman joke.    

    

Waste of time.

"Binaries" by James Sallis

Knight would include this one in The Best from Orbit Volumes 1-10 in 1976; otherwise, it has not been reprinted.

"Binaries" is a series of surreal images and paradoxical passages, ten and a half pages, I guess about a writer and his career, his relationships with women and his father, and his trips between and within France, England, and the United States.  One woman has breasts that are different sizes, one woman has a slim torso but big hips and thighs, the guy thinks of himself as a European but stays in America because he feels he belongs in America, this kind of thing.  Sallis presents a self-important and stereotypical view of the writer's life--smoking lots of cigarettes, name-dropping French writers and painters, suffering paranoia. 

Waste of time.

"Only the Words Are Different" by James Sallis

Sallis has two stories in Orbit 9.  "Only the Words Are Different" would be reprinted in Sallis's 1995 collection, Limits of the Sensible World.  It is yet more surreal images of the lives of writers who smoke many cigarettes, but is more coherent, more anchored in reality.

Five vignettes that collectively take up six and a half pages.  1: A writer looks out the window and sees a guy has fallen from the scaffolding to his death far below--the blood is the color of strawberries.  The writer figures this guy was climbing the scaffolding to express his love to the writer.  2: A college professor and his wife are driving home from a party; the wife cries because she thinks her husband is having an affair with one of the female students.  3: A writer discovers a petition signed by millions of people, a petition demanding that poetry abolished.  It is suggested that the people who know poets want poetry abolished because the poets' obsession with poetry is an obstruction to the progress of love lives, profitable enterprises, etc. 4: An American woman wants to have her English boyfriend's child, but he always uses a condom.  He moves to New York to be with her but their relationship collapses and he leaves her.  Then he mails her a condom full of his jizz.  5: In a future (I guess) town where the population is in decline because people don't have any interest in having kids, the Mayor tries to unite the depressed citizenry and shake them out of their ennui by declaring war on roaches.  One woman fights hand-to-hand with the police when they come to destroy her pet roach, a creature she feeds cigarette butts.

Acceptable.

"The Science Fair" by Vernor Vinge

Vinge is an actual math professor who often writes stories about science and technology, and this story actually has "science" in its title, so maybe Vinge can get us out of our New Wave doldrums.    

"The Science Fair" is a first-person narrative delivered by a private eye--a spy for hire living on an alien world of people with hooves who can see into the infrared spectrum.  He is hired to protect a famous scientist who is giving a speech at the upcoming once-in-a-generation science fair.  There is an action scene in which the private dick shoots it out with assassins.  Then comes the fair.  The scientist reveals that a star is approaching their planet and will likely destroy their civilization in eight generations!  He calls for the scientists of the world to stop working as individuals seeking profit and to work together to create a technological and industrial base capable of preventing the coming cataclysm.  People are thrown into an uproar by these revolutionary statements.  

"The Science Fair" feels like the first chapter of a novel--its last line is a clue that, I believe, suggests the approaching star has a planet orbiting it that is home to another intelligent race.  

I like it; Vinge does a good economical job of sketching out an interesting setting for his story; these aliens live in an environment and have a society I would have read much more about.  "The Science Fair" would reappear in 2001's The Collected Stories of Vernor Vinge as well as two European Vinge collections published in 2006.  Look how sad 21st-century book covers are; it is like nobody is even trying any more.

"When All the Lands Pour Out Again" by R. A. Lafferty

This one is a little hard to grok, but I'm going to throw some interpretation out there: "When All the Lands Pour Out Again" is a satire or spoof of man's restless nature, his desire for change, any change, no matter how risky; also, it is a satire of man's solipsism, his hubris and overconfidence, his belief that he can master the world, can know its nature and even control it (this applies especially to academics, politicians and would-be revolutionaries.)  The story may also be a depiction of the Second Coming of Christ or just an assertion of God's power that echoes the Flood and the destruction of Sodom and Gomorrah.

At the start of the fourteen-page story we meet three academics; Lafferty here gently spoofs academic self-importance and highlights how little academics really know and how little they agree with each other.  These three geniuses think that a major, cataclysmic change is in the offing, that everybody and everything is about to change, and they actually welcome rather than fear the change, though millions will die.

Sure enough, people, animals, even geographic features begin mass migrations, and they do it with joy.  People eagerly blow up their homes and places of work and begin long journeys they know not where, surrounded by earthquakes, lava flows, the arrival of space aliens, the sudden reappearance from under the earth of Native American tribesmen and from under the sea of the lost continent of Lyonesse.  The leaders of all the governments of the world escape danger via airplanes and then convene on Lyonesse, Lafferty joking that far away from everybody else maybe they won't cause so much trouble.

Near the end of the story we meet three revolutionaries, men bearing the appellations the red lion, the red tiger, and the red wolf.  Lafferty hints they are satanic; for example, they get their power from below in the form of lava.  These revolutionaries are angry that the radical changes taking place are not under their control; they try, without success, to reassert control, and the whole world laughs at their failure.

In the last paragraph of the story the three academics from the beginning, the men who predicted and welcomed the cataclysm, are described as "three wise men" and depicted wearing sandals and carrying staves and lanterns.    

As usual, Lafferty provides strange images and charming turns of phrase, lots of allusions and thought-provoking mysteries.  I like it.  "When All the Lands Pour Out Again" would be reprinted in a French collection of Lafferty stories and in Lafferty in Orbit.

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In an article in the May 12, 1956 issue of The Saturday Review, John W. Campbell, Jr., one of the most important figures in the history of science fiction, informed readers that "science-fiction's fundamental purpose is to make accurate, loose prophecies of general trends" and that it is written by, about, and for "technically-minded people."  When Barry Malzberg met Campbell in 1969, Campbell, as Malzberg tells it in the 1980 essay "John W. Campbell: June 8, 1910 to July 11, 1971," told him that "Mainstream literature is about failure...a literature of defeat...Science fiction is challenge and discovery," and that "science fiction is a problem-solving medium, man is a curious animal who wants to know how things work and given enough time can find out."

To what extent Campbell's definitions of science fiction are merely prescriptive, and to what extent they are accurately descriptive, is up for debate.  Either way, the stories we read today from 1971's Orbit 9 show that much of the science fiction promoted by important figures in the SF world of that year either ignored or deliberately sought to refute Campbell's strictures.  While Vinge's story fits into Campbell's definitions, being about science and technology and offering a hopeful view of the efforts of people to learn about the universe and master it, Neville's, Lafferty's and Thurston's stories suggest man's ability to comprehend and control the universe are illusory; Thurston's in particular is a pure literary piece, relying for its effects entirely on literary technique and containing no science or speculations of any kind.  The fifth of Sallis's vignettes in "Only the Words Are Different" contains some speculation about society and government, but otherwise his contributions to Orbit 9 are like a caricature of mainstream literature: they consist of surreal and fragmented episodes that offer impressionistic glimpses into the disordered psychologies and disastrous relationships of chain-smoking writers, artists and academics.

Thanks for embarking on this brief foray into the New Wave era with me.  In our next episode we'll again be exploring 1970 fiction, this time with one of our favorite women writers.  

Space voyages with Oliver, Russell, Temple and Neville

Let's cast our net back into A Sea of Space and see what we can drag wriggling to the surface!  Today Chad Oliver (!), Ray Russell, William F. Temple and Kris Neville are our guides into "the vast space wilderness."

The 1980 British edition
of A Sea of Space

"The Wind Blows Free" by Chad Oliver (1957)

I'll always think of Chad Oliver as the guy who writes contrived utopian stories about spacefaring anthropologists who decide to abandon Earth to live among Stone Age people who are at one with nature, stories I think are ridiculous and boring.  In his intro to this story, however, editor William F. Nolan tells us "The Wind Blows Free" is about a "life ship" (what I think we usually call a "generation ship") and is one of Oliver's best.  I like generation ship stories, and confident that this isn't about an anthropologist who goes native among primitives, I am willing to tackle "The Wind Blows Free"'s 26 pages.

Sam is born on a generation ship of narrow catwalks, tiny apartments and stifling rules.  The rules may well be necessary to keep the cramped self-sufficient society of the ship (which it is said may well be the last hope of humanity, Earth having been ruined 400 years ago in a cataclysmic war) going, but Sam is an individualist and chafes under them.  Bigger and stronger than the other boys, he bullies them and has no luck making friends.  Sam is fascinated by the sex and violence in the stolen books he reads, but it is drummed into him that guns are bad and when he tries to get into a girl's pants he is confined to the family apartment for an entire year--in the closed environment of the ship population must be rigidly controlled.  Because of his troublemaking, the powers that be do not trust him and as an adult he is stuck at a maintenance job instead of graduating to the "Crew" along with his peer group.  One day comes the final straw, and Sam throws the rules totally out the window and starts exploring the forbidden areas of the ship.

When the Crew catches up to him, Sam kills a man in a fight.  Knowing that he now faces execution or a lobotomy, Sam takes the drastic final step of stepping out of one of the airlocks in the forbidden outer decks of the ship.  He is amazed to find that the ship is a vine and rust-encrusted relic on a green and beautiful world!  The ship must have landed decades or centuries ago, but the Crew, after a lifetime of regimentation, risk-aversion and "mankind ruined the Earth" guilt-trips, has been too scared to disembark, and kept the fact that they have reached their destination a secret!  Sam advances into the jungle and soon meets other men as big and brawny and adventurous as he is; a happy life lies ahead of him.

Oliver yet again gives us a "guy leaves modern society to thrive as a primitive" narrative, but this story is actually a good one.  Oliver brings the ship to life,  doing a good job describing its physical and social architecture and effectively and efficiently setting a tone, and the psychological stuff about Sam is also good.  I'm maybe a little disappointed that the ship wasn't actually in space, but the tradition of generation ship stories is that the passengers are ignorant of their circumstances (generally, they don't realize they are on a space ship) and Oliver manages to adhere to this tradition and at the same time advance his own agenda, so it is forgivable.  Oliver also subtly pays homage to Robert Heinlein's classic generation ship story "Universe," which was fun.

I'm actually recommending a Chad Oliver story here at MPorcius Fiction Log!  Now there is a real plot twist!  "The Wind Blows Free" first appeared in F&SF.   

"I Am Returning" by Ray Russell (1961)

I have read only one Ray Russell story before and I thought it a waste of time.  If you are wondering who Russell is, Nolan tells us in the intro here that Russell was an executive editor at Playboy and "brought quality science fiction to its pages."  Maybe this story will be worth my time?

Not really.  "I Am Returning" is a gimmick story, the tale of the fall of Satan explained or reimagined as the story of a winged alien with antenna, the loser of a civil war, crashlanding his ship on Earth in the Mesozoic era.  Too proud to admit defeat, Satan burrows to the Earth's core, and from there uses his telepathic powers to influence the evolution of the human race, pushing us to develop high technology and to construct a space navy with which to continue the civil war.  As the five-page story ends it is the close of the 21st Century and Lucifer is leading his Earth-built fleet out into space to fight Round Two of the War in Heaven.

Because it is brief I will give "I Am Returning" a grudging acceptable rating.  It first appeared, I believe, in Russell's collection Sardonicus and Other Stories.

"The Undiscovered Country" by William F. Temple (1958)

Last year the MPorcius staff examined a pile of Ace Doubles, including 76380, which presented Temple's Battle on Venus and The Three Suns of Amara.  I guess I was sort of lukewarm about them.  Nolan in his intro to this story here briefly describes Temple's adventurous life (serving in the Eighth Army during the long Mediterranean campaigns of World War II and then in peacetime rooming with Arthur C. Clarke) and commends "The Undiscovered Country" itself as a "tense adventure."

"The Undiscovered Country" turns out to be the kind of story I was expecting (hoping) from a collection billed as being about "voyages in space."  Astronauts have discovered that living on the surface of Pluto are people whose metabolisms move at a rate one fortieth of our Earth metabolisms.  Unfortunately, everybody on the first two Earth expeditions to Pluto died because Pluto's acidic atmosphere can burn right through a conventional spaceship and cause catastrophic failure.  The third expedition, of which our narrator is a member, crews a ship specially built to withstand the Plutonian atmosphere, but can only do so for a short time!

This third Pluto research team snatches a beautiful young Plutonian woman (did I mention that these Plutonians are nudists?) and puts her on the Earth ship in a special tank full of Pluto air.  The hope is to study her, perhaps even keep her alive and learn to communicate with her.  But the Plutonian girl does not appreciate being kidnapped and put in a tiny cell, and uses her previously unsuspected telekinetic powers to sabotage the ship!  Who will live?  Who will die?  Will the ship get to Earth, or will the alien beauty seize control of the vessel and take it back to Pluto?

A good adventure story; I actually think it is too short, that there are lots of ideas in the story that are not explored as far as they might be.  How often do I say that?  Temple tosses in Shakespeare references and historical analogies along with all the science blah blah blah, so reading it really makes you feel like a smart guy!  "The Undiscovered Country" was first published in Nebula.

"Worship Night" by Kris Neville (1953)

A few years ago I read several Kris Neville stories, as chronicled here and here.  Taken together, I found the stories pretty thought-provoking, and a few of them were actually touching or exciting.  So I have hopes for "Worship Night!"

Like Robert Bloch's "The Old College Try" this is a story about colonialism that reminds me of Somerset Maugham, but whereas Bloch's story was a humorous horror story Neville's story is sad and realistic.

George, a college professor, and his wife Wilma are Earthlings who have lived on planet Cerl for twenty years.  Today is moving day; they are relocating from a big city (presumably built to human specifications, as the natives seem like primitives) to a house in the country, apparently to retire.  George is planning to write a book on Cerl and its people, and his wife urges him to do so, because interaction with humanity is radically changing Cerl society and later historians will lack George's familiarity with the traditional ways of the people of Cerl.

Neville makes clear that George and Wilma identify more with the natives than with their own kind--for example, the native employees at their apartment building assemble on the roof to bid them farewell as they board the aircar to their new place, but none of George's human colleagues of twenty years come to see them off--George suggests that their fellow Earthers feel he and Wilma have "gone native."  But, as humans, a vast gulf separates them from the Cerl people.  At their new place they are treated in a standoffish and surly manner by the locals, and they recall how it took them long years back in the city to make friends with the natives there.  (The reader has to wonder to what extent the natives who worked at their apartment building were really their "friends" and not merely obsequious service workers catering to their customers, hoping for tips and the like.)  No longer young, George and Wilma may die before they can establish any relationships in their new environs, and George wonders if he shouldn't have taken a job offer he had of a position back on Earth instead of buying a house on this alien world.  Having turned their backs on their own people, and unable to fully gain acceptance among the people of this planet, George and Wilma may have doomed themselves to an old age of loneliness and alienation.

Not bad; the style is good, Neville efficiently painting images and conveying the emotions of these lost souls.  "Worship Night" was first published in F&SF.

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With one exception, a good crop of stories.  Our voyage into space has been fruitful!

More anthologized SF in our next episode!

Three mid-70s stories by Barry N. Malzberg

Via Ebay, I recently acquired the Lake Blackshear Regional Library of Americus, Georgia's withdrawn copy of Barry N. Malzberg's 1976 hardcover collection Down Here in the Dream Quarter.  On the jacket are quotes from Harlan Ellison ("Barry Malzberg is...a better writer than I am") and Brian Aldiss (who sees Malzberg as "a master of sex and depression") which would be reason enough to crack yet again the severely cracked spine of this harried and tattered volume, even if I hadn't, somehow or other, slowly been evolving into some kind of Malzberg obsessive. Today, four pieces from this collection!

"Introduction: A Short One for the Boys in the Back Room" (1976)

Malzberg starts the six-and-a-half page intro, dated "New Jersey: January 1976," to Down Here in the Dream Quarter by describing how he temporarily left off using 1950s issues of Astounding as bedtime reading and absorbed nine ("or perhaps ten") biographies of literary icons ("Ross and Tom and John and Ernest and James and John again and Sinclair"--he just gives the first names, mystifying you or flattering your erudition, though in the next paragraph there are more clues--for example, the James is apparently not Joyce or Boswell but Thurber,) only to find them depressingly similar tales of unhappiness--lives of rejection, failed marriages, and alcohol abuse.

Barry then moves on to describing the start of his own career as a writer and how he got into science fiction (at the same time telling us that his SF career is over--don't believe him!)  This account is both entertaining and interesting and contains numerous memorable tidbits, e.g., "the single happiest moment" of his life was when he learned he had made his first real SF sale, "We're Coming Through the Window" to Frederick Pohl at Galaxy, and that when he wrote his breakthrough story "Final War" (original title, when he was shopping it to literary magazines and slicks like The Atlantic Monthly, Kenyon Review, Playboy and Esquire, "Shoe a Troop of Horse") he "did not have Vietnam at all in mind."  In our last episode of this here blog we saw that Malzberg identified with A. E. van Vogt as a fellow sui generis writer--in this book Malzberg identifies with J. G. Ballard because both are (he says) symbols of a certain type of writing:

I never expected to be a major science fiction writer let alone the figure I have become.  (Which if not "major" is certainly that in terms of visibility as best symbol of a certain kind of writing in my field in my country just as J. G. Ballard occupies the same role in England.)      

We'll let you decide if both these self-identifications, written within six months of each other, can be reconciled.

A valuable document for all of you (us?) students of the sage of Teaneck!

"A Galaxy Called Rome" (1975)

This famous story, the foundation of Malzberg's novel Galaxies, which I read back in 2011 in a 1998 anthology of classic novels of space travel and was my first exposure to Malzberg's work, begins by invoking seminal SF editor John W. Campbell, Jr, dead four years when "A Galaxy Called Rome" was published.  (Campbell died on July 11, 1971, within a week of your humble blogger's birth.)

The first line of "A Galaxy Called Rome" is "This is not a novelette but a series of notes," and Malzberg explains that the novelette will "lean heavily upon" two posthumously published editorials by Campbell, in which Campbell posits the existence of a "black galaxy," the product of a neutron star's collapse, a thing with such gravitational power that it is invisible and can constrain not only "light itself but space and time." The novelette Malzberg proposes writing would be about a space ship trapped in this black galaxy, named after Rome by Campbell because all roads lead to it (though none lead away.)

In note form, interspersed with draft fragments of important scenes, we get the outline of the story of ship captain and pilot Lena Thomas, who is the sole waking person on a ship that ends up in the black galaxy, and who thus lives for thousands of years, going insane.  Malzberg's "notes" are full of specific criticism of hard SF ("At this point in the story great gobs of physics, astronomical and mathematical data would have to be incorporated") as well as criticism of fiction in general ("It is to be noted that putting this conventional viewpoint in the character of a woman will give another of those necessary levels of irony with which the story must abound if it is to be anything other than a freak show...irony will give it legitimacy.")

"A Galaxy Called Rome" seems, to me, to be about the impossibility of real knowledge, as well as a reflection on the uselessness of science fiction and perhaps literature in general.  No information can leave the black galaxy, a reminder of the inability of one human being to know another, to transmit information, or to truly know anything with confidence.  Lena Thomas talks to the rest of the crew and passengers, all of whom are in suspended animation and cannot hear her--she is talking for herself, for own psychological benefit, and isn't this like the writer, who writes not knowing if his work will even be published, much less if others will read and understand it? Malzberg muses that SF's pretensions makes little sense--what is the point of speculating about what happens on other planets or in different times when what goes on in one's own town, much less the town one over, is just as unknowable?  ("...it occurred to me that Ridgefield Park would forever be as mysterious as the stars...." Why consider the "sound of pulsars" when "the music of the paddock area at Aqueduct racetrack" is just as, or even more, strange and exciting?  Isn't writing or reading about riding in a star ship just as interesting as writing or reading about riding in a New York City subway car?

Image from Amazon.co.uk--Malzberg's career is plagued with typos!

"A Galaxy Called Rome" is characteristic of Malzberg--it's about being a writer, it shows respect for SF at the same time it calls SF's traditional attitudes into question, it suggests that man's problems will go with him to the stars because those problems are spiritual and psychological, it mentions Freud and the Aqueduct and frustrating sex--but it is better than average for Malzberg because it has more clever turns of phrase and more interesting images per page than most of Malzberg's work, and at about 20 pages it is a good length, neither overstaying its welcome and feeling like it is bloated with filler nor coming off like a half-baked trifle dashed off for a check.  I really recommend this one, not just to Malzberg fans (who of course need to read it) but to people curious about Malzberg who haven't tried him yet, or those who have read one or a few other Malzberg stories and been irritated or unimpressed; this is top shelf Malzberg.

In his Afterword Malzberg tells us he wrote the story for an anthology called Faster Than Light and that it was rejected by the editors, whom he does not name (they are George Zebrowski and Jack Dann.)  Malzberg, who usually says sympathetic things about editors and often expresses his gratitude to them (in fact, Down Here in the Dream Quarter is dedicated to a list of eleven editors) tells us that he is still angry about this rejection; I think Malzberg realizes this is some of his best work.  "A Galaxy Called Rome" first appeared, then, in F&SF, and it has been reprinted many many times, often in books with titles that include the word "Best" or "Top" or "Favorite" or "Great."  (Zebrowski and Dann blew it on this one, but I suppose they made amends in 1998--they were editors, along with Pamela Sargent, of that three book anthology that contains Galaxies!)

"Thirty-Seven Northwest" (1976)

This story, if isfdb is to be believed, has only ever appeared in this book, so you are just going to have to go buy a copy, aren't you?

Our narrator, who is also named Thomas, is an explorer walking around on the surface of Jupiter, in a massively heavy suit which allows him to survive and move in the tremendous gravity of that planet.  He does whatever the people back at base tell him to do, setting up cameras, looking this way and that, etc.  This is all pretty well written in hard SF style, interspersed with Malzbergian descriptions of the narrator's fears about the deadly planet and his worries that stem from the fact that he was supposed to be merely one component of a three-member team, and his comrades, for some reason, have not accompanied him.

At the end of the seven-page story the people at base order him to remove his helmet; when he protests that he will die they threaten to leave him on Jupiter forever.  Then we learn the shocking truth: everybody on this mission is a child!  Why or how this happened is not explored.

A decent piece of work.

In his Afterword to this tale Malzberg compares it to Golding's Lord of the Flies.  He also says that "What all post-technological cultures share is the absolute brutality with which they treat their children, all their children.  (I don't think most other cultures were or are any better but it is this one I know well enough to generalize.)"  This is puzzling. First of all, do people normally think of 1976 USA as "post-technological?"  Does Malzberg mean "post-industrial?"  Secondly, it seems obvious that, compared to most other places and times, that post-World War II America, and the West broadly, coddles and pampers kids.  What "absolute brutality" is he talking about?

Malzberg also uses the afterword to promote Kris Neville, whom he considers "underrated," and to list stories of Neville's which he believes "articulate" the alleged brutality of which Malzberg speaks "with visionary skill."  The Neville stories he lists are "Betty-ann," "From the Government Printing Office," and "Overture;" I have read some Neville but none of these.  Joachim Boaz read the fix-up novel of which "Betty-ann" and "Overture" are a part, and wrote about it in 2015--check his thoughts out at the link.

"Sedan Deville" (1974)

Here's something you maybe didn't know about our pal Barry--he loves cars!  Cadillacs, in fact!  I'm always a little surprised to learn that a smart and/or educated person loves cars or sports, but I hear it all the time, so maybe I should stop being surprised by it.

"Sedan Deville," which first saw light of day in F&SF, consists of letters written to a literary agent by Karl Delvecchio, New Jersey auto mechanic!  Delvecchio writes ungrammatically and refers to himself in the third person with regularity, but he is a published writer, having sold stories to a failing SF magazine, Terrific Science Fiction.  I know you are disappointed about this grease monkey's name, but dry your eyes--the editor of Terrific Science Fiction is named Mr. Walter Thomas!

Anyway, the letters reveal that Delvecchio's stories are all about Cadillacs; in fact, he claims that he is simply the messenger of the Cadillacs, who tell him their stories as he works on them.  He is contacting the agent because Terrific has folded and he desires help finding new markets, but the agent's demands for reading fees and criticism of his stories (the agent suggests he show range by writing about some other make of car) anger him.  The letters conclude with Delvecchio's assertion that the energy crisis is a plot to murder the Cadillacs!

I laughed at some of the jokes in this story, so it gets a thumbs up.  Maybe nowadays the story would be pilloried because it could be interpreted as making fun of a choleric working-class ethnic who may be an immigrant.  It would have been safer to name the mechanic "Thomas," Barry, and reserve "Delvecchio" for the kind but doomed editor of Terrific!

In the Afterword Malzberg talks about the Cadillacs he has owned and describes how each died on him in dramatic circumstances.  (Every day brings new reasons to be glad I drive a Toyota.)  He also points out that when some unnamed "commentator" learned he drove a Cadillac this "enraged" individual listed Malzberg "near the top of the Exploiting Class"--a foreshadowing of the feminist attack on Malzberg in 2013?  No matter how leftist you may be, there's always another leftist ready to slide the knife into you for the least infraction of their ever-shifting creed.

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Worthwhile stuff!

When Brian Doherty of Reason magazine reviewed the 2013 Malzberg collection The Very Best of Barry N. Malzberg he noted that it had typos on every page.  Down Here in the Dream Quarter is not nearly as bad as that, but poor Barry was not well-served by the editors at Doubleday back in the '70s.  When he cites the Neville stories, "From the Government Printing Office" is listed as "In the Government Printing Office" and even though the book's title is printed correctly on the title page, the header on every page that has one reads, nonsensically, "DOWN HERE IN THE DREAM QUARTERS." Sad!

Star Gladiator by Dave Van Arnam

"Did you know that every tenth planet, roughly, in the Zarmithian Empire has a Star Games arena of one sort or another?  I didn't, but that's over seventy arenas.  A hundred thousand lives a month....They're restocking from Kalvar."

Last week I stopped by Karen Wickliff Books, the terrific used book store on High Street in Columbus, Ohio, mere miles from MPorcius Fiction Log's current MidWestern HQ.  There I pored over the SF shelves and the wall of unsorted paperbacks, and discovered a treasure from our friends at Belmont, a 1967 Belmont Double featuring Kris Neville's Special Delivery and Dave Van Arnam's Star Gladiator.  The cover is irresistible, with its fun fonts, extravagant and exuberant tag lines, and its illustrations chock full of so many classic ("shopworn" to you cynics!) SF elements, but the contents were also intriguing.

Now, I've already read and praised Neville's Special Delivery at this here blog, but Van Arnam I know nothing about.  He doesn't have a lot of publications listed at isfdb, but he seems to have been a committed SF fan (he wrote an article entitled "How I Learned to Love Fandom" for the NyCon3 Program and Memory Book) and an expert on Edgar Rice Burroughs.  He also co-wrote some novels with Ted White, whom I like (one reason I spent all that money on ebay for all those issues of Fantastic is that I find White an interesting character.)  So, I have plenty of reasons to read Star Gladiator, which first appeared in printed form in this very Belmont Double and since then no place else (there is, however, an electronic version with an embarrassing CGI cover that seems to be channeling the Herald of Galactus.)  Science fiction is full of people getting thrown into the gladiatorial arena--let's see what Mr. Van Arnam does with this classic ("hackneyed" to you blase types!) theme.

It is the future and humankind has spread throughout the galaxy--men reside on a million or more planets, divided into numerous empires.  One such empire, of over 700 planets, is that centered on planet Zarmith II.  The Zarmithians are a real bunch of jerks who have been expanding their empire by conquest for centuries, largely to enslave people so they can throw them into their gladiatorial arenas to be murdered by beasts or celebrity pro gladiators.

Our hero is teen-aged Jonnath Gri, son of an important member of the Grand Council of the independent planet Kalvar, a planet with high gravity where everybody is physically strong.  (Shades of John Carter, whose success on Mars was partly the result of being born and bred on higher-gravity Earth.)  The novel begins when the Zarmithian military conquers Kalvar in a lightning quick attack, the Kalvarans lacking weapons that can penetrate the Zarmithian force fields.  The Zarmathians exterminate the Kalvaran leadership, but capture much of the population alive to throw into the arena!  Jonnath, his girlfriend, and his girlfriend's little sister escape extermination by hiding in a vacant mansion, where they find rifles and pistols which they use to stave off attacks by members of the Kalvaran lower classes, who are using the catastrophe as an opportunity to engage in a little looting!  Unfortunately, all that shooting draws the attention of the Zarmithian troops and by Chapter 3 (Star Gladiator has eight chapters that span like 88 pages) Jonnath is in the arena on planet Changar and his fiance and prospective sister-in-law are in parts unknown!

I like the font used for the chapter headings of Special Delivery/Star Gladiator

When Jonnath's dad wasn't calling for an independent prosecutor or legislating subsidies for his friends in the tech industry or whatever it is that a Grand Councilor of Kalvar does, he was training Jonnath in hand-to-hand combat, so Jonnath is a success in the arena and soon becomes one of those celebrity gladiators.  After three years of fighting every week for the pleasure of both live in-person violence fans and those who prefer to enjoy their gore in the comfort of their homes via the TV, Jonnath is elevated from the small Changar Arena to the big leagues on planet Tansavar.  On Tansavar he meets a bunch of other Kalvarans, who, like him, have become successful pro gladiators.  Jonnath has to decide if he will join their conspiracy to take over the planet, or, if he will seek his freedom "by the book": if he can defeat a series of especially difficult opponents in the arena at the annual High Games, the Zarmithian spectators will grant him his freedom.  Complicating matters is the fact that, on Tansavar, Jonnath has befriended an alien genius whom everybody else thinks is a dumb beast, and this genius has an agenda of its own.

This is an entertaining enough sword and planet kind of thing.  The action scenes are not bad, and Van Arnam tries to give the secondary figures little idiosyncrasies that add up to interesting personalities. At times I thought Van Arnam might be trying to emulate Jack Vance--there is an elaborate meal and Van Arnam lists all the weird courses, and symbolic attire also plays a role in the story.  In the last quarter or so of the piece, after Jonnath has won his freedom, he goes full Kirth Gersen, doing detective work to locate the Zarmithian soldiers who killed his family on Kalvar so he can get revenge on them.

A problem with Star Gladiator is that Van Arnam seems to have tried to cram 150 or so pages of material into the 88 pages he had available to him, so some ideas and portions of the story feel rushed or merely glossed over.  (The alien genius who looks like a beast of burden, for example, doesn't really play any role in the plot.)  The wikipedia article on Donald Wollheim, architect of the famous and much-adored Ace Doubles, says he sometimes chopped up some writer's novel to make it fit the Double format, and one wonders if somebody at Belmont took an axe to Van Arnam's piece here.

As longtime readers of this blog know, I like these kinds of adventure stories, and if I see any of Van Arnam's books in my travels (for the low low price I paid for this one), it is likely I will pick them up.

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At the back of Belmont's Special Delivery/Star Gladiator are three pages of ads, including two pages listing many speculative fiction and Fortean titles available from Belmont (plus a "handy reference" to the bon mots of Marilyn Monroe's most famous conquest and a guide to how to find buried treasure.)  Of the books listed (besides Special Delivery and Star Gladiator), I've read Murray Leinster's Space Tug (at Gutenberg.org), Doomstar by Edmond Hamilton (in a 1979 reprint edition), Doomsman by Harlan Ellison, and my beloved Novelets of Science Fiction. which I like to think of as "The Book of the Year."  There are plenty of Belmont books listed which I have not read and would probably snatch up if I saw them by authors like James Schmitz, Kris Neville, Lin Carter, Ted White, Robert Bloch, or with crazy titles like The Throwbacks and The Cosmozoids.  It is good to know that, out there in the world's used bookstores, there are still so many treasures waiting for me to uncover them!
 

Click or squint to study Belmont's October 1967 offerings

Seven stories by Barry Malzberg from the period 1969-72

The backside of Ace Double 27415 presented to the SF fan of 1971, the year of my birth, In the Pocket and Other S-F Stories, a collection of fifteen tales by New Jersey's own Barry N. Malzberg.  Three of these stories I am skipping: "In the Pocket" because I am assuming it is material later integrated into the novel The Men Inside, which I read and wrote about in 2011; "Gehenna," which I read and wrote about in 2013; and "The Idea," which I read and wrote about in January of last year.  That leaves us with a dozen stories, six today (plus a special free bonus!), six in our next episode.

"Ah, Fair Uranus" (1971)

This is a very typical Malzberg story, and I think it only ever appeared here in this Ace Double and in an Italian translation of In the Pocket and Other S-F Stories in 1974.

It is the early 24th century!  Hostile aliens are setting up bases around the solar system, and, according to Earth's authoritarian government, they are plotting an attack on humanity!  So an astronaut by the name of Needleman (I'm guessing his name and the title of the story are a sort of childish joke or even a reminder of The Men Inside) is sent to Uranus in a one-man craft to deploy some super bombs.  Along the way Needleman starts sympathizing with the aliens, and then is contacted by the aliens, who suggest he use the super bombs to blow up the Earth.  We readers have no idea if the alien threat is real or a government lie, if Needleman is really talking to aliens or just hallucinating, and whether or not Needleman blows up the Earth.

This story bears similarities with Malzberg's 1973 "A Reckoning," and 1972 "Making it Through," both of which I read in October of last year; all three are about astronauts who may be insane approaching one of the outer planets and coming to believe they have been contacted by aliens, and the grave peril to the human race that insanity and/or close encounter represents.  "Ah, Fair Uranus" also reminded me of 1972's "Out From Ganymede," which I read years ago, and which I decided to read again this week to refresh my memory!

"Out From Ganymede" (1972)  

"Out From Ganymede" was first published in Robert Silverberg's anthology New Dimensions II.  I read it in my copy of Out From Ganymede, a 1974 collection put out by Warner.  It also appears in the 2013 collection The Very Best of Barry N. Malzberg.

1974 paperback edition of
New Dimensions II

It is the future!  An Earth wracked by international disputes and racial tensions sends a one-man space ship to orbit Ganymede.  The sole crewmember of the craft, Walker, spends much of the flight in unhappy reminiscences of his failed relationship with his estranged wife.  Once in orbit around Ganymede he is visited by Ganymedean natives.  When mission control back on Earth is forced (by riots or some similar issue) to abort the mission and direct the craft to return, the aliens, perhaps by hypnotism, convince Walker to destroy the Earth with the ship's arsenal of super weapons.  Whether the aliens are real and manipulating Walker, or simply hallucinations, the product of Walker's pent-up frustrations about his wife and the stress of the trip, the reader is left unsure of.

This story, while very similar to "Ah, Fair Uranus," is superior because of its focus on Walker's relationship with his wife.  I think "Out From Ganymede" also better presents the theme of mankind looking to space for salvation or escape from its problems, only to be frustrated because mankind's problems are psychological or sociological and carried with him wherever he may go.  (Malzberg challenges the idea of those SF writers--Ray Bradbury is coming to mind--who argue that travel to other planets is essential because it will make mankind immortal.)

"Notes Just Prior to the Fall" (1970)

OK, back to Ace Double 27415.

"Notes Just Prior to the Fall" first appeared in an anniversary "All-Star" issue of The Magazine of Fantasy and Science Fiction, and stars Simmons the horseplayer and takes place at the Aqueduct racetrack in Queens.  (No doubt you remember that Malzberg's mainstream novel Underlay was set largely at the Aqueduct.)  Our narrator is some kind of alien or supernatural creature who can observe while remaining invisible, read horses' thoughts and manipulate people's brains.  He appears to Simmons, gives Simmons bad advice on what horse to bet on, then observes the poor man, who loses his money and questions his own sanity.

Entertaining.

"As Between Generations" (1970)

This brief (four pages) story, first seen in Fantastic, is an allegory of the tensions inherent in the relationships between fathers and sons, including Oedipal tensions.  On Sundays in the town in which the story is set, adult sons ritualistically ride carts pulled by their aged fathers, whipping them as assembled spectators watch.  In the first part of the tale we get the son's point of view: dad humiliated him in front of a girlfriend, cut his allowance, etc., and this weird ritual is the son's chance to punish the father.  In the second part, the father's point of view: junior embarrassed him and disappointed him with his low morals, never appreciated all of his financial sacrifices, etc., and the point of the ritual is to humiliatingly expose to the people of the community the son's ingratitude.

A good "fantastic" literary story, a metaphor of one of the many sadnesses of our lives.

"The Falcon and the Falconeer" (1969)

Like "Notes Just Prior to the Fall," "The Falcon and the Falconeer" first appeared in F&SF.  In it Malzberg has characters explicitly state the themes we saw in "Out From Ganymede," that going into space is not going to solve humanity's problems, because man will bring his real problems, which are psychological and sociological (a religious person might say "spiritual") with him:

"...we learned only to play out our madness and insufficiency on a larger canvas; that space drive and the colonization of the galaxy only meant that the uncontrollable had larger implications."

"...men tend to get crazy on these expeditions anyway....this is what is going to happen inevitably when you set out to colonize the universe: men have to occupy it, and men are going to bring what they are along with them."

This perspective is one of the things that makes Malzberg and his work distinctive and valuable, the contrast it provides to the confidence in mankind we see in so much SF, perhaps archetypally in Robert Heinlein (Damon Knight finishes his intro to the collection of Heinlein's future history stories, The Past Through Tomorrow, thusly: "Heinlein's money is on Man, and I think the next century will prove him right.")  I hurry to point out that I think Malzberg's pessimism is a complement, not a refutation, of Heinlein-style optimism; the sweep of history and our daily lives may be full of human actions and artifacts that are ugly and terrible, but they are also full of human creations and achievements that are beautiful and heroic, from a Greek vase or a Japanese garden to the Empire State Building or the landing on the Moon.

The text of "The Falcon and the Falconeer" consists of transcripts of interviews of members of an expedition to Rigel XIV; the expedition suffered a disaster, and as we read the story's seventeen pages we piece together just what happened. What happened?  Bored and homesick, as Christmas approached the crew of the expedition decided to hold a Christmas pageant, reenacting the first Christmas, with crew members (all adult men) playing Mary, the newborn Jesus, the three wise men, etc.  Playing the animals were the native Rigelians, who "look like asses."  Malzberg encourages us to consider all the multiple meanings of "ass" by having various crew members say the Rigelians are dim-witted and by having the expedition's psychologist report that the expedition commander is "anal-retentive" and a "latent homosexual."  There is evidence that the Rigelians were smarter than they appeared and used telepathy to inspire in the humans the desire for a Christmas pageant, but the psychologist insists it was all just "mass hysteria."  During the performance the crewman playing Jesus began throwing fits, and the rest of the expedition fled the planet, leaving him behind.

This one is pretty good.  We have reason to believe that Malzberg himself is particularity proud of "The Falcon and the Falconeer"--it appears in the 1973 anthology SF: Author's Choice 3, a cover description of which reads, "Thirteen Science Fiction Masters Present, With Commentary, Their Own Favorite Stories."  I would certainly like to read Malzberg's commentary on the story.  (Of course, readers of Charles Platt's Dream Makers know that by 1979 Malzberg's favorite story of his own was "Uncoupling.")

[UPDATE 4/23/2017:  In the comments ukjarry gives us a summary of the Malzberg commentary on "The Falcon and the Falconeer" from SF: Author's Choice 3, providing valuable insight into the creation of this tale and Malzberg's work process!]

"June 24, 1970" (1969)

This two page story is a letter from an editor to a SF writer with Malzberg's famous pseudonym of O'Donnell.  At the same time that it is a satire of the time travel story in which a guy might kill his ancestors, it is itself just such a time travel story, as well as a series of jokes revealing the sad truths of a career as an SF editor or SF writer.  Such a story runs the risk of being self-pitying or self-indulgent, but "June 24, 1970" is actually pretty clever, and people into "meta" and "recursive" SF will, I suspect, love it.

"June 24, 1970" first appeared in an issue of Venture with a striking but incomprehensible cover.

"Pacem Est" (1970) (co-written with Kris Neville)

This story, which first appeared in Infinity One, was co-written with Kris Neville; as we have discussed here at MPorcius Fiction Log before, Neville's pessimism about space flight presages Malzberg's own, and Malzberg has been one of Neville's biggest fans.

Unsurprisingly, this is a pessimistic story, about a space war which might lead to the destruction of the human race.  It is also full of symbolism (for example, the aliens look just like human beings) and histrionic melodrama.  Hawkins is an officer in a reconnaissance unit fighting on an alien planet, participating in ground combat that is perhaps supposed to remind you of World War One (there is poison gas and daily patrols beyond the barbed wire.)  A group of nuns who think that Armageddon is nigh are on the planet, tending to the soldiers, and one gets too close to No Man's Land, to the edge of the wire, where she breathes in alien poison gas and dies.  She lays there dead for a few days, until Hawkins, who passes her twice a day, departing on and returning from patrols, arranges to have her body retrieved.  He finds that the nuns have put up a wooden marker where she died.  After a talk with the nuns Hawkins lays down on the marker and awaits the enemy poison gas as a way of committing suicide.

I don't know if I am missing something, or if I am just supposed to be moved by the images of death and the decision of the main character to commit suicide rather than continue participating in the madness of the war.  Like all of us, I've experienced lots and lots of anti-war fiction, so for yet another anti-war story to have an effect on me it has to do something new or do something very well, and this story doesn't quite cut it. There is also the religion angle; the story begins and ends with italicized lines claiming that God was lonely and so he invented religion.  Is this some kind of indictment of religion for causing wars or of religious people for being selfish or a criticism of the depiction of God found in the Bible?

This story is acceptable, but I am not sure it succeeds in its aims.

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This crop of stories is rather good; not only do they touch on many of Malzberg's characteristic themes, but I think "As Between Generations," "The Falcon and the Falconeer," and "June 24, 1973," are better than average for Malzberg, more concise, better structured, and more entertaining than is usual for him.  Sometimes his work comes across as rushed or derivative of his earlier work, but the three stories just mentioned feel carefully crafted.  Let's hope the rest of the stories in In the Pocket and Other S-F Stories, which we'll look at in our next episode, will meet this admirable standard!

Four stories from the 1950s by Harlan Ellison

If I got sick of being cooped up indoors while I lived in New York City I could just step outside and take a walk and experience all kinds of adventures, or at least take in the perennially fascinating sights afforded by the countless skyscrapers and the many vessels big and small plying the river.  If I step outside where I am living now I am confronted by ugly suburban houses and strip malls.  The only interesting thing to do within walking distance of the current MPorcius HQ is to peruse the nostalgia shelf at Half Price Books.  Which is how I ended up buying Belmont Tower's 1973 edition of Harlan Ellison's From the Land of Fear this weekend, even though I already have more paperback books than I can read in what remains of my lifetime.

Ellison provides an adorable introduction to this collection of ten short stories and one screenplay, which was originally published in 1967.  He brags about how brave he is (the only thing he fears is that he will die before he has written all the stories churning inside of him--oh yeah, and contact lenses) and talks about the burden his Talent with a capital T puts on him.  For example, when a woman has sex with him, is it because she is attracted to him, or is it "the Talent" that she loves?

The talent that is Me and the Man that is Harlan Ellison are two very separate and distinct entities.  That the Man lugs around the Talent becomes at once a blessing and a curse.     

The last time I read a Belmont Tower book I remarked upon how they had cut corners and left out any page numbers.  From the Land of Fear has its own idiosyncrasies; there is no table of contents or page listing where the included stories first appeared. Thank heavens for isfdb!  Let's take a look at four Ellison stories which first appeared in SF magazines in the late 1950s.

"We Mourn for Anyone..." (1957)

When this one appeared in Fantastic it was under the title "Mourners for Hire" and under a pseudonym, Ellis Hart.  Under his real name Ellison had this issue of Fantastic's cover story, "Satan is My Ally," evidently a tale about a man who rose from the grave. "Satan is My Ally" is a pretty great title, and I love stories about people rising from the grave, so I may take steps to acquire this rarely reprinted piece.

Back to "We Mourn for Anyone..." In his intro to the story Ellison tells us he wants the cheapest possible funeral and for his body to be sold to medical science and the money accrued thereby to be given to The Deacons for Defense and Justice for firearms and to Native American children for clothes.  You see, Ellison, citing Jessica Mitford, thinks the funeral home industry is a racket!

Our story takes place in a future of air cars, videophones, and high tech weaponry. Upper-middle-class people are into dueling over slights with hand flamers and other weapons (like in Robert Heinlein's Beyond this Horizon?)  People in this society also consider mourning over dead friends and relatives a waste of time and energy, and hire professional mourners to handle this burden while they get on with their careers.

Gordon Vernon murders his cheating wife, Liz (nee Sellman), and then hires the top mourner in the country, Maurice Silvera.  Dun dun dun!  Unbeknownst to Vernon, Maurice Silvera was the guy who was sleeping with Liz!  When Silvera uses his instruments to gauge how sad Vernon is about his wife's falling off the roof of a 96-story skyscraper (to determine how emotive a performance he has to put on) he realizes Vernon is not sad at all!  Silvera gives a poor performance, the Sellman family (a bunch of violent nouveau riches) is insulted, and their best duellist challenges Vernon, who has no chance of surviving the encounter.  Revenge!

A brisk noirish story full of SF gadgets and strange cultural norms; fun!

"The Sky is Burning" (1958)

In the intro to this one Ellison tells us he has an Alexander Shields bathrobe.  I had never heard of this brand before, and am not sure if Ellison is bragging that he is a stylish dresser with an oversized clothing budget or if he is hinting that he is just a man of the people who shops at the 1967 equivalent of Walmart.

This story, which first appeared in If, is narrated by an astronomer.  He is among the first to notice that hundreds of meteorites are burning up in the atmosphere of Earth, Venus and Mars.  But it turns out these are no ordinary meteorites--they are aliens!  People who look like the Egyptian sun god Ra, and have come to our solar system (like creatures from a Lovecraft story, they need no spaceship to cross the cosmos) after living a span of five thousand years to commit suicide!

Before killing himself, one of the thirteen-foot-tall aliens comes to the Earth's surface and telepathically communicates with some scientists, informing them that our solar system is the "end of the Universe" and that the human race will not be permitted to leave it.  This bad news breaks the hearts of the more sensitive scientists, including the narrator ("A feeling of waste and futility and hopelessness") and so they commit suicide.

Reminding me of Ellison's intro to the volume, this is an arrogant story about how special people ("Those of us who dreamed"), people who are better than the rest of us, suffer under the terrible burden of their superiority.  Ellison includes in the story examples of the hoi polloi for whom he has disdain--a military officer and the narrator's assistant, a careerist--and assures us that they will not be committing suicide because they are so insensitive.

It's bad enough when people who were born with gifts brag about their gifts, but when they turn around and tell you how hard their lives are because they are better than the rest of us, that is hard to take.  This story is OK, but it had me rolling my eyes the way I did when attractive women I would meet in New York would moan about how difficult it was being beautiful, what with all the men chasing them and all the other women envying them.

"My Brother Paulie" (1958)

In his intro to this one Ellison tells us it is a "gimmick" story and would have been perfect for The Twilight Zone and admits he made a goof in it.  Gimmicks and goofs aside, I really like this story.

Brad Woodland is the sole astronaut on the ninth rocket to try to fly around the moon and take readings of its dark side.  The eight previous rockets have all failed in one way or another.  But Brad has a still bigger problem--his envious twin brother, Paul, a jerk who has bullied Brad all his life, has stowed away on the rocket and is trying to murder him!

Despite being chased all around the ship by his blaster-wielding brother, Brad completes the mission and gets back to Earth in one piece with the data.  It is revealed that the astronauts who helmed the previous eight attempts had gone insane--like in a Kris Neville or Barry Malzberg story, in "My Brother Paulie," space drives you bonkers! The government hypnotized Brad into thinking his brother was along for the ride in order to distract him from whatever it is in space that drives Earthlings mad.  But wait, if Paulie and the blaster weren't really on the ship, what are all those blast holes in the cockpit?

I'm not sure I like the second twist of the twist ending (the possibility that Paulie really was aboard) but I like everything else about the story, the suspense scenes and the flashbacks to the boys' contentious youth.  Entertaining.        

"Back to the Drawing Boards" (1958)

Ellison admits that this one is a little gimmicky and unbelievable, but says that readers will generally go along with the writer, and if readers weren't willing to suspend their disbelief that "Heinlein, Asimov, Vonnegut and myself would be the most imaginative quartet of bricklayers in the world." (Heinlein did some masonry work on his own house and apparently considered it a kind of hobby.  I don't know if Asimov or Vonnegut have any history of bricklaying, but Ellison isn't the kind of guy to let logic get in the way of a good story or a good line.)

It is the close of the 21st century! Man has conquered the solar system!  TV viewers demand ever more exciting reality programming!  To meet this demand an inventor, Leon Packett, toils in his basement, inventing a super strong humanoid robot with a face full of cameras and microphones.  He calls the robot Walkaway, and it can go anyplace and get the best film because Packett has programmed it to have human-like emotions.

Packett built Walkaway without any government or institutional support ("I starved for fifteen years") and he hates all government and authority.  So he won't sell or give away Walkaway; the military or whoever has to hire Walkaway and pay him wages, just like they would a human employee.  When the government hires Walkaway to man (or "staff," as the feminists say) the first ever faster-than-light space ship, bound to explore the galaxy, Packett plots his final revenge on the human race!  After Walkaway heads off into hyperspace, Packett commits suicide.

Walkaway returns to Earth three and a half centuries later!  The people of Earth lost interest in interstellar travel long ago, and few people even know the name "Leon Packett."  The first thing Walkaway does when he lands is not telling everybody about all the awesome stuff he saw out there in space; no, the first thing he does is demand 365 years of wages--plus interest!  There isn't that much money in the world, so the people of Earth have to give Walkaway the planet, making him dictator!  (The last line of the story hints that the dictator forces everybody to be put in a robot body or something.)

Like the other three stories, "Back to the Drawing Boards," which first appeared in Fantastic Universe, is well-written and paced.  Maybe the end could be a little more clear, but I thought it was a pleasant diversion.

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Back cover of my copy of the 1973
edition of From the Land of Fear

"The Sky is Burning" rubbed me the wrong way--it is the most pretentious and least exciting of the four stories we looked at today--but it is not bad and the other three are all fun capers.  I'll definitely be reading more of Ellison's early work (ebay may provide an affordable route to "Satan is My Ally!")  

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When as a six-year-old child I saw the first Star Wars movie in a New Jersey drive-in theatre I immediately wanted to run out and buy an R2-D2 action figure.  Even as an adult living in New York City, after I saw The Phantom Menace I wanted to run over to the Virgin MegaStore on Union Square to buy the film's soundtrack.  Apparently, people living in 1973 who had just smoked a pack of Kents ("America's quality cigarette") felt the urge to run right out and buy a Kent-branded ice bucket!

Bound into my copy of Belmont Tower's 1973 paperback edition of From the Land of Fear is a full color ad not only for the Kent cancer sticks themselves, but for Kent-branded popcorn makers, ice buckets, percolators and drinking vessels of all sizes and shapes!  [UPDATE 12/8/2016: Check out ukjarry's comment and the accompanying link below for evidence of what Ellison must have thought of this ad!]

Order these "attractive" "collectables" for your family and friends.